A History Of Western Music 9th Edition By J.

Peter
Burkholder – Test Bank

To purchase this Complete Test Bank with Answers Click the link
Below

https://www.quizsol.com/product/a-history-of-western-music-9th-edition-by-j-peter-burkholder-test-
bank/

If face any problem or Further information contact us At Quizsol99@gmail.com

Description

INSTANT DOWNLOAD WITH ANSWERS

A History Of Western Music 9th Edition by J. Peter Burkholder – Test Bank

Sample Test

CHAPTER 3: Roman Liturgy and Chant

MULTIPLE CHOICE
In the Medieval Christian church, the primary purpose of liturgical music was to

a. aid in the delivery of the text

b. demonstrate the priests’ musical virtuosity

c. enable congregants to participate in the service

d. entertain the congregants who did not understand Latin

e. imitate angels

ANS: A DIF: Easy REF: 47 TOP: Purpose of the Liturgy

MSC: Applied

The cycle of feasts celebrating events in the life of Christ and commemorating saints is called the

a. Christian Rite d. Office

b. church calendare. Proper

c. Mass

ANS: B DIF: Easy REF: 47 TOP: Church Calendar

MSC: Applied
The Mass is a symbolic reenactment of which episode in the life of Christ?

a. the Baptism d. the Nativity

b. the Crucifixion e. the Resurrection

c. the Last Supper

ANS: C DIF: Easy REF: 47 TOP: Mass

MSC: Factual

All of the following took place during the Mass except

a. burning incense

b. drinking wine

c. reading passages from the New Testament

d. sacrificing a lamb

e. singing psalms

ANS: D DIF: Medium REF: 47–49 TOP: Mass

MSC: Factual
All of the following Mass movements are parts of the Ordinary except the

a. Credo d. Kyrie

b. Gloria e. Sanctus

c. Introit

ANS: C DIF: Easy REF: 47–49 TOP: Mass

MSC: Applied

This part of the Mass is sung only during Lent, the forty days before Easter.

a. Alleluia d. Offertory

b. Benedicamus Domino e. Tract

c. Gradual

ANS: E DIF: Easy REF: 48

TOP: Mass| The Experience of the Mass MSC: Factual

The longest and most melismatic chant of the Mass Proper is the

a. Communion d. Introit

b. Credo e. Offertory

c. Gradual

ANS: C DIF: Medium REF: 48–49 TOP: Propers for Christmas

MSC: Applied

The cycle of prayers said throughout the day in monasteries and convents is called the

a. Antiphoner d. Office

b. Breviary e. Rule of St. Benedict

c. Canticle

ANS: D DIF: Easy REF: 50–51 TOP: The Office

MSC: Factual
The liturgy of the Office focused primarily on chanting the

a. Epistles d. Pentateuch

b. Gospelse. psalms

c. Liber usualis

ANS: E DIF: Medium REF: 51 TOP: The Office

MSC: Factual

Which best describes a canticle?

a. another word for a psalm

b. a brief statement in praise of the Father, Son, and Holy Spirit

c. a newly composed text set to what was originally a melisma in an existing chant

d. a passage of poetry from anywhere in the Bible other than the Book of Psalms

e. a strophic song

ANS: D DIF: Easy REF: 51 TOP: The Office

MSC: Factual
How many psalms are there?

a. 7 d. 150

b. 52 e. 365

c. 100

ANS: D DIF: Easy REF: 51 | 54

TOP: The Office| Office Antiphons MSC: Factual

The manner of performance in which a soloist alternates singing with a choir is called

a. antiphonal d. responsorial

b. declamatory e. syllabic

c. melismatic

ANS: D DIF: Easy REF: 52 TOP: Characteristics of Chant

MSC: Applied
The style of this chant is best described as

a. melismatic d. strophic

b. neumatic e. syllabic

c. soloistic

ANS: E DIF: Medium REF: 52 TOP: Characteristics of Chant

MSC: Applied

Because the Credo is a very long text, the musical style of Credo chants will usually be

a. antiphonal d. responsorial

b. melismatic e. syllabic

c. neumatic

ANS: E DIF: Medium REF: 52 | 59 TOP: Concept

MSC: Conceptual
All of the following statements about characteristics of chant melodies are true except

a. higher pitches often correspond with accented syllables

b. important notes in the mode are emphasized through repetition and circling

c. melodies move mostly by seconds and thirds

d. melodies usually ascend to the cadence

e. phrases are usually arch-shaped

ANS: D DIF: Medium REF: 52 | 56 | 57 | 58

TOP: Characteristics of Chant | Melody and Declamation MSC: Applied

Why is the Lesser Doxology added to the end of psalms?

a. to cue the celebrant to perform a ritual action

b. to link the psalm with the specific feast of the day

c. to provide a joyous melisma marking the end of the psalm

d. to provide a musical transition back to the Antiphon

e. to provide the psalm with a Christian context

ANS: E DIF: Medium REF: 54 TOP: Psalm Tones

MSC: Conceptual
A genre that consists of several stanzas, each sung to the same melody, is called a(n)

a. canticle d. Kyrie

b. hymn e. responsory

c. Introit

ANS: B DIF: Easy REF: 56 TOP: Office Hymns

MSC: Applied

In responsorial psalmody, the soloist sings which portion of the chant?

a. the antiphon d. the respond

b. the doxology e. the trope

c. the psalm verse

ANS: C DIF: Medium REF: 57

TOP: Responsorial Psalmody in the Office and Mass MSC: Factual

Evidence of solo singing of certain chants during the Middle Ages comes from

a. directions in liturgical books

b. eyewitness testimony

c. paintings in illuminated manuscripts

d. related Jewish traditions

e. the more ornate style of some chants as compared to others

ANS: E DIF: Hard REF: 59

TOP: Responsorial Psalmody in the Office and Mass MSC: Conceptual

Which chant of the Ordinary is usually composed in a neumatic style?

a. Credo d. Offertory

b. Gloria e. Sanctus

c. Kyrie

ANS: E DIF: Medium REF: 59 TOP: Chants of the Mass Ordinary

MSC: Applied
All of the following are examples of tropes except

a. adding new melismas to an existing chant

b. adding new parts for instruments such as the organ

c. adding new words and music to the beginning of an existing chant

d. adding new words to a melisma of an existing chant

e. performing the text in dialogue with dramatic action

ANS: B DIF: Medium REF: 61

TOP: Additions to Authorized Chants MSC: Applied

Which of the following best represents the musical and textual form of a sequence?

a. A A B, B B C, C C D, etc. d. A B C D, A B C D, A B C D, etc.

b. A B A C A D A, etc. e. A BB CC DD, etc.

c. A B B‘ A

ANS: E DIF: Medium REF: 62 TOP: Sequence

MSC: Applied

The composer of Ordo virtutum is

a. Adam of St. Victor d. St. Benedict

b. Hildegard of Bingen e. Wipo of Burgundy

c. Notker Balbulus

ANS: B DIF: Easy REF: 64 TOP: Hildegard of Bingen

MSC: Factual

Why was Hildegard of Bingen’s music known only locally during her lifetime?

a. most composers in the Middle Ages had only a local reputation

b. most people rejected her unusual musical style

c. people did not believe her visions and prophecies

d. she was a radical

e. women were not allowed to compose

ANS: A DIF: Easy REF: 64 TOP: Hildegard of Bingen

MSC: Conceptual

Hildegard of Bingen did all of the following except

a. advise emperors, kings, and popes d. travel around Germany to preach

b. compose music e. write poetry

c. officiate at Mass

ANS: C DIF: Hard REF: 65 TOP: Hildegard of Bingen

MSC: Factual

TRUE/FALSE

The portions of the Mass sung by the soloist, choir, and congregation changed between the time of the
early Christians and the standardization of the liturgy in the ninth century.

ANS: T DIF: Medium REF: 46 | 49 | 54-55 | 57 | 59 | 60

TOP: Concept MSC: Conceptual

The texts for the Mass are the same every week of the year.

ANS: F DIF: Easy REF: 47 TOP: Mass

MSC: Factual

The most florid chants of the Mass accompanied ritual actions.

ANS: F DIF: Medium REF: 48 | 57–58

TOP: Mass| The Experience of the Mass| Responsorial Psalmody in the Office and Mass

MSC: Factual

The Liber usualis contains the complete cycle of chants for the church year as it was sung in the Middle
Ages.

ANS: F DIF: Medium REF: 51 TOP: Liturgical Books

MSC: Factual

When writing chants, composers sought to express the emotional qualities of the text in the music.

ANS: F DIF: Easy REF: 52 TOP: Melody and Declamation

MSC: Applied

The musical phrases of a given chant tend to match the phrasing and pronunciation of spoken Latin.

ANS: T DIF: Medium REF: 52 TOP: Melody and Declamation

MSC: Applied

Antiphons are sung only during the Office.

ANS: F DIF: Medium REF: 56–57

TOP: Antiphonal Psalmody in the Mass MSC: Applied

In responsorial psalmody, such as the Gradual, the soloist sings the psalm verse.

ANS: T DIF: Hard REF: 57–58

TOP: Responsorial Psalmody in the Office and Mass MSC: Applied

The liturgy, music, and manner of performing the Mass remained unchanged from its standardization in
the ninth century until the reforms of the Council of Trent in the sixteenth century.

ANS: F DIF: Medium REF: 60–61

TOP: Additions to Authorized Chants MSC: Conceptual

Nowadays when people hear Gregorian chant, it is mostly detached from its original liturgical functions.

ANS: T DIF: Easy REF: 66

TOP: The Continuing Presence of Chant MSC: Conceptual

SHORT ANSWER

Explain the difference between the Proper and Ordinary texts of the Mass.

ANS:

Proper texts differ for each day of the church calendar and are specific to the feast being celebrated. For
example, the Gradual for Christmas Day would be different from the Gradual for Easter. The Gradual for
Christmas talks about the miracle of Christ’s birth. The Gradual for Easter may talk about Christ’s
sacrifice. Ordinary texts are the same from week to week. For example, the Gloria text is always the
same.

DIF: Medium REF: 49–50 TOP: Mass MSC: Applied

What is a monastery?

ANS:

A monastery is a community of religious men (monks) who devote their lives to prayer. Communities of
religious women (nuns) are called convents.
DIF: Easy REF: 51 TOP: The Office MSC: Factual

Explain the difference between antiphonal and responsorial performance.

ANS:

In antiphonal performance two soloists or two groups sing in alternation. In responsorial performance a
soloist alternates with a group (choir or congregation).

DIF: Medium REF: 52 | 55 TOP: Characteristics of Chant| Office Antiphons

MSC: Applied

A nun in a medieval convent is about to sing a psalm during Matins. How would she decide what mode
of psalm tone to use?

ANS:

She would identify the mode of the assigned antiphon and sing the psalm using the psalm tone in the
same mode.
DIF: Hard REF: 53–54 TOP: Psalm Tones| Office Antiphons

MSC: Applied

Below is a verse of a psalm (in English translation). Using appropriate terms, explain how this text might
be chanted using a psalm tone.

“Praise him with the sound of the trumpet:

praise him with the psaltery and the harp.” (Ps. 150, v. 3)

ANS:

The first words, “praise him,” would be sung to a brief melodic phrase called an intonation. The words
“with the sound of the” would be sung on a single repeated note called the reciting tone. At the word
“trumpet” there would be a simple descending phrase called the mediant to signal the end of the line or
textual phrase. The next words, “praise him with the psaltery,” would also be sung using the reciting
tone. The final words, “and the harp,” would be sung to a small cadential phrase called the termination.

DIF: Hard REF: 53–54 TOP: Psalm Tones MSC: Applied

What is an antiphon? How and when is it used?

ANS:

An antiphon is a fully-composed melody that is sung before and after the verses of a psalm. Since the
psalms are from the Old Testament and all 150 psalms are sung every week, antiphons link the psalms to
the particular feast day and give Christian meaning to the psalms. Antiphons occur in both the Office and
the Mass. Antiphons tend to be shorter and simpler than some of the other types of chants, reflecting
the history of group/choral singing.

DIF: Hard REF: 54–56

TOP: Office Antiphons| Antiphonal Psalmody in the Mass MSC: Factual

In its early history, the Introit consisted of an antiphon, a entire psalm sung antiphonally, the Lesser
Doxology, and a repeat of the antiphon. Eventually this was shortened to the antiphon, a single psalm
verse, the Lesser Doxology, and the repeat of the antiphon. Why did it change?

ANS:

The Introit was originally used to accompany a procession. Eventually the opening procession of the
Mass was shortened and the Introit was no longer used to accompany the ritual. Instead it was sung
after the opening procession, so the Introit was abbreviated to a single psalm verse.
DIF: Medium REF: 56 TOP: Antiphonal Psalmody in the Mass

MSC: Conceptual

Explain the differences between hymns and sequences in terms of their musical and poetic forms.

ANS:

Hymns are strophic. A hymn consists of several stanzas, each with the same number of lines, syllables
per line, and rhyme scheme, so every stanza can be sung to a single, unchanging melody. Sequences may
begin with a single line of text, set to its own melody, followed by several paired lines of text. Within
each pair, the lines will have the same number of syllables and will rhyme, and so each line will be set to
the same melody. But the next pair of lines will be different from the preceding pair (number of syllables,
end rhyme), and will be set to a different melody.

DIF: Hard REF: 56 | 61–62 TOP: Office Hymns| Sequences

MSC: Applied

Why was troping considered a way of increasing the solemnity of a chant?

ANS:

It increased the importance of the chant by enlarging it, interpreting it, and linking it more closely with
the specific occasion on which it was sung.

DIF: Medium REF: 61 TOP: Tropes MSC: Conceptual

Why are liturgical dramas considered tropes rather than completely new additions to the liturgy?

ANS:

Liturgical dramas started out like other tropes as additions of words and music to the beginning of
authorized chants (like the Introit for Easter). But since texts of these tropes were dialogues or
conversations among people and included dramatic action, it was only natural that people started to sing
them responsively and include staged action and costumes. As these dramas became longer, they were
sometimes staged separately from the liturgy.

DIF: Hard REF: 63 TOP: Liturgical Drama

MSC: Conceptual

MATCHING
Match each item to the correct description below.

a. Alleluia d. Introit

b. antiphon e. Kyrie

c. Credo

this chant contains the statement of faith

this chant has a melisma called a jubilus

this chant has a three-part text in Greek

this chant includes the Lesser Doxology

this chant precedes and follows a psalm verse

ANS: C
ANS: A

ANS: E

ANS: D

ANS: B

Match each item to the correct description below.

a.

b.

c.

d.

e.

Lesser Doxology

melismatic setting
neumatic setting

psalm tone

trope

ANS: B

ANS: D

ANS: C

ANS: A

ANS: E

ESSAY
Discuss the use of psalms in both the Mass and the Office.

ANS:

Answers will vary.

Chants of the Mass and Office display a spectrum of melodic styles, from simple recitation formulas to
elaborate composed melodies. Relate the varying melodic styles of chant to their liturgical functions and
manners of performance.

ANS:

Answers will vary.

CHAPTER 5: Polyphony Through the Thirteenth Century

MULTIPLE CHOICE

Why is early polyphony considered a sort of gloss on the chant repertory?

a. the added melodies elaborated on the authorized chants

b. the added melodies improved the authorized chants

c. polyphony enabled composers to assign rhythmic values to the chant melodies

d. polyphony replaced the authorized chants

e. polyphony was composed in the most significant centers of learning in western Christendom

ANS: A DIF: Medium REF: 84–85 | 101

TOP: Early Organum| Early Motets MSC: Conceptual

The earliest written polyphony exhibited all of the following musical elements that continued to occupy
composers throughout the history of Western music except

a. phrasing d. meter

b. counterpoint e. notation

c. harmony

ANS: D DIF: Easy REF: 85

TOP: Polyphony Through the Thirteenth Century MSC: Applied

The treatises Musica enchiriadis and Scholica enchiriadis use the term organum to describe

a. an improvised melody sung against a drone

b. monophony

c. a musical instrument with a keyboard, pipes, and a bellows

d. a strophic song

e. two or more voices singing different notes in agreeable combinations according to given rules

ANS: E DIF: Easy REF: 85 TOP: Early Organum

MSC: Factual

In organum, the voice presenting the chant is called the

a. bass voice d. original voice

b. drone e. principle voice

c. organal voice

ANS: E DIF: Medium REF: 86 TOP: Early Organum

MSC: Factual
Note-against-note organum offers composers freedom because

a. the organal part has many notes composed against each note in the chant

b. the organal part can move in contrary, oblique, parallel, or similar motion

c. the organal part occupies a range below the original chant

d. the organal part was improvised

e. there is a greater choice of allowable consonant intervals compared to earlier types of organum

ANS: B DIF: Hard REF: 88 TOP: Note-Against-Note Organum

MSC: Conceptual

In the twelfth century, which movement of the Mass would most likely be set polyphonically with
organum?

a. Gloria d. Offertory

b. Graduale. Sanctus

c. Kyrie

ANS: B DIF: Medium REF: 88 TOP: Note-Against-Note Organum

MSC: Applied
The musical style of this excerpt is best described as

a. discant d. note-against-note organum

b. florid organum e. parallel organum

c. mixed parallel and oblique organum

ANS: B DIF: Medium REF: 89–90 TOP: Aquitanian Polyphony

MSC: Applied

Aquitanian polyphony originated in

a. Englandd. Italy

b. France e. Spain

c. Germany

ANS: B DIF: Easy REF: 89 TOP: Aquitanian Polyphony

MSC: Factual
Which format best describes the presentation of the music in the original sources of Aquitanian and
Notre Dame polyphony?

a. each part is written in a separate book

b. each part is written in separate areas on a single page

c. each part is written on facing pages

d. only the organal part is written down; the singer would know the chant by heart

e. the parts are aligned vertically in score format

ANS: E DIF: Hard REF: 90 | 98 | 104

TOP: Aquitanian Polyphony| Perotinus Organum| Motets in the Later Thirteenth Century (Format)

MSC: Factual

In the notation of the rhythmic modes, the rhythmic duration of pitches was indicated by

a. letters d. numbers

b. ligature patterns e. stem lengths

c. note shapes
ANS: B DIF: Medium REF: 92 TOP: The Rhythmic Modes

MSC: Factual

How many rhythmic modes are there?

a. 4 d. 8

b. 5 e. 10

c. 6

ANS: C DIF: Easy REF: 92 TOP: The Rhythmic Modes

MSC: Factual

The rhythmic modes were developed by composes working at the

a. Cathedral of Notre Dame in Paris

b. Cathedral of Santiago de Compostella in Spain

c. monastery in Cologne, Germany

d. monastery of Winchester, England

e. Papal Chapel in Rome

ANS: A DIF: Easy REF: 92 TOP: The Rhythmic Modes

MSC: Factual

Although Anonymous IV names Leoninus and Perotinus as creators of polyphony, scholars are unsure of
exactly what they wrote. Why is this?

a. Anonymous IV is an untrustworthy source

b. No surviving sources of polyphony name Leoninus or Perotinus as the composers

c. The manuscripts containing the music were copied long after Leoninus and Perotinus lived

d. Scholars are unsure when Leoninus and Perotinus lived

e. The surviving music from the time does not match Anonymous IV’s description

ANS: B DIF: Medium REF: 93–94 TOP: The Magnus Liber Organi

MSC: Conceptual

In Notre Dame–style polyphony, composers set melismas in the original chant as discant because

a. the composers wanted to use the rhythmic modes

b. discant is easier than organum for the choir to sing

c. discant is easy to memorize

d. polyphony ornamented chants for the most important feasts of the church year
e. setting melismas as organum would make the music too long

ANS: E DIF: Hard REF: 95–96

TOP: Organum in the Style of Leoninus MSC: Conceptual

Scholars think that the organum of Leoninus and Perotinus was first composed orally and was later
written down. All of the following observations provide evidence for this except

a. the Anonymous IV treatise describes melodic formulas and calls them colores

b. discant was easy to remember because of its short phrases and the use of rhythmic modes

c. the organal voices contain recurring melodic formulas that were easy to remember

d. the compositions in the manuscripts known as the Magnus Liber Organi are all anonymous

e. there was a longstanding practice of composing orally and memorizing large amounts of music

ANS: D DIF: Hard REF: 96

TOP: Organum in the Style of Leoninus | Oral Transmission MSC: Conceptual

Most substitute clausulae were written in

a. Aquitanian styled. florid organum

b. conductus style e. parallel organum

c. discant style

ANS: C DIF: Medium REF: 97 TOP: Substitute Clausulae

MSC: Applied

Voice exchange is when

a. some voices sing while others rest

b. voices sing in florid style

c. voices sing in note-against-note style

d. voices sing in the same rhythmic mode

e. voices trade phrases

ANS: E DIF: Easy REF: 98 TOP: Perotinus Organum

MSC: Applied
You discover a previously unknown composition that is an organum triplum. Who is likely to have
composed it?

a. Anonymous IV d. Perotinus

b. Franco of Cologne e. Petrus de Cruce

c. Leoninus

ANS: D DIF: Easy REF: 98 TOP: Perotinus Organum

MSC: Applied

A polyphonic conductus is a setting of

a. a chant and a French prose text sung simultaneously in different voices

b. a single biblical text sung in all voices

c. a single French poem sung in all voices

d. a single Latin poem sung in all voices

e. a Latin poem and a French poem sung simultaneously in different voices

ANS: D DIF: Medium REF: 99–100 TOP: Polyphonic Conductus

MSC: Factual
All of the following describe ways in which early thirteenth-century composers reworked motets except

a. adding a third or fourth voice to those already present, with all voices singing the same text

b. adding a third or fourth voice to those already present, with all voices singing their own texts

c. deleting the original chant and writing one or more new voices

d. deleting the original duplum and writing one or more new voices

e. writing a different text for the duplum that may not be related to the original chant

ANS: C DIF: Medium REF: 101–102 TOP: Early Motets

MSC: Applied

The term cantus firmus, introduced around 1270, is synonymous with which of the following terms?

a. duplum d. triplum

b. motetus e. vox organalis

c. tenor

ANS: C DIF: Easy REF: 103

TOP: Motets in the Later Thirteenth Century MSC: Conceptual

All of the following are names of rhythmic durations in Franconian notation except

a. breve d. semibreve

b. double long e. short

c. long

ANS: E DIF: Easy REF: 104

TOP: Motets in the Later Thirteenth Century MSC: Factual

This excerpt was likely composed by

a. Anonymous IV d. Perotinus

b. Franco of Cologne e. Petrus de Cruce

c. Leoninus

ANS: E DIF: Hard REF: 106–107

TOP: Motets in the Later Thirteenth Century MSC: Applied

A composer of late thirteenth-century motets was

a. Adam de la Halle d. Hieronymous de Moravia

b. Franco of Cologne e. Johannes de Garlandia

c. Guido of Arezzo

ANS: A DIF: Easy REF: 105

TOP: Motets in the Later Thirteenth Century MSC: Factual

English polyphony in the thirteenth century exhibits a preference for

a. alternating florid organum and discant within a composition

b. frequent use of dissonant intervals

c. the rhythmic modes

d. simple, syllabic, repeating melodies

e. unmetered organum purum

ANS: D DIF: Medium REF: 107 TOP: English Polyphony

MSC: Applied
TRUE/FALSE

Tritones were considered acceptable in organum.

ANS: F DIF: Easy REF: 86 TOP: Early Organum

MSC: Conceptual

Parallel fifths were considered acceptable in organum.

ANS: T DIF: Easy REF: 86 TOP: Early Organum

MSC: Conceptual

Polyphony was sung by a choir, with several people singing each part.

ANS: F DIF: Hard REF: 88–89 TOP: Note-Against-Note Organum

MSC: Conceptual

The notation of Aquitanian polyphony shows the rhythmic duration of each pitch.

ANS: F DIF: Medium REF: 91 TOP: Aquitanian Polyphony

MSC: Applied

In the original manuscript, this passage would have been notated using the rhythmic modes.

ANS: T DIF: Easy REF: 92–93 | 96 TOP: The Rhythmic Modes

MSC: Applied

The origins of Western rhythmic notation can be found in the rhythmic modes.

ANS: F DIF: Medium REF: 92 | 104

TOP: Motets in the Later Thirteenth Century | Franconian notation

MSC: Conceptual

In organum, voice exchange is when the duplum or triplum trades phrases with the tenor.

ANS: F DIF: Medium REF: 98 TOP: Perotinus Organum

MSC: Applied

It is likely that Perotinus composed the surviving examples of organum quadruplum.

ANS: T DIF: Easy REF: 98 TOP: Perotinus Organum

MSC: Factual

Early motets could be secular.

ANS: T DIF: Easy REF: 101 TOP: Early Motets

MSC: Factual
The motets of Petrus de Cruce are unmetered.

ANS: F DIF: Medium REF: 106–107

TOP: Motets in the Later Thirteenth Century MSC: Applied

SHORT ANSWER

A type of organum described in Musica enchiriadis that includes intervals of seconds and thirds in order
to avoid tritones is called

ANS:

mixed parallel and oblique organum

DIF: Hard REF: 86–87 TOP: Early Organum

MSC: Applied
How is composing organum similar to the practice of troping chants?

ANS:

Both are additions or ornaments to the authorized chant.

DIF: Medium REF: 88 TOP: Note-Against-Note Organum

MSC: Conceptual

How were substitute clausulae used?

ANS:

Settings of segments of chants within a larger piece of organum were self-contained sections. These
sections could be replaced by new self-contained settings of the same segment of chant.

DIF: Hard REF: 97 TOP: Substitute Clausulae

MSC: Applied

Can the following excerpt be from a conductus? Why or why not?

ANS:

It cannot. In a conductus all the voices are set in essentially the same rhythm. In this passage the tenor is
sustained and the quadruplum has longer notes than the other voices towards the end. A conductus is
syllabic. This passage is an extended melisma on the syllable “Vi-.”

DIF: Medium REF: 99–100 TOP: Polyphonic Conductus

MSC: Applied

Why do motets have compound titles, with two or more phrases separated by slashes (for example,
Super te Ierusalem/Sed fulsit virginitas/Dominus)?

ANS:

Each voice of the motet has a different text, each of which is identified in the title of the motet by the
first few words.
DIF: Easy REF: 101 TOP: Early Motets

MSC: Applied

What is the difference between a substitute clausula and an early motet?

ANS:

Compositionally they are the same; the difference is in the text. Motets have newly added words in the
upper voices and are syllabic. Substitute clausulae were composed for chant melismas, so the only text is
a single syllable on which the chant melisma was sung.

DIF: Medium REF: 97 | 101 | 103 TOP: Substitute Clausulae| Motet

MSC: Conceptual

How many voice parts are in a double motet? Explain your answer.

ANS:
Three: one voice carries the chant (tenor) and two composed voices present different texts above the
tenor. A triple motet would have four voices.

DIF: Hard REF: 102 TOP: Early Motets

MSC: Applied

Why were thirteenth-century motets most likely intended for elite audiences?

ANS:

The interplay of texts and combination of borrowed and new elements required an educated audience
already familiar with the repertory to appreciate the subtleties.

DIF: Hard REF: 103 TOP: Early Motets

MSC: Conceptual

What is the primary innovation in notation described by Franco of Cologne in his treatise Ars cantus
mensurabilis?
ANS:

The shape of the note indicates its relative duration or rhythmic value. This is in contrast to modal
notation, in which rhythmic values were determined according to the patterns of two- and three-note
ligatures.

DIF: Hard REF: 104 TOP: Motets in the Later Thirteenth Century

MSC: Conceptual

Why do motets from the second half of the thirteenth century show more rhythmic flexibility than
motets from the first half of the century?

ANS:

The development of Franconian notation allowed for more rhythmic freedom and variety than the
previous system of the rhythmic modes.

DIF: Medium REF: 105 TOP: Motets in the Later Thirteenth Century

MSC: Conceptual
MATCHING

Match each score excerpt to the correct description.

a.

b.

c.

d.

e.

Aquitanian-style discant

conductus

motet

Notre Dame–style discant

parallel organum

ANS: B

ANS: D

ANS: E

ANS: C

ANS: A

Match each manuscript or collection to the repertory it contains.

a. Codex Calixtinus d. Winchester Troper

b. Magnus Liber Organi e. Worcester Fragments

c. Montpellier Codex

Aquitanian polyphony
early note-against-note organum

English rondellus and rotas

motets in Franconian notation

Notre Dame polyphony

ANS: A

ANS: D

ANS: E

ANS: C

ANS: B
ESSAY

Discuss the role of improvisation and oral transmission in the development of organum.

ANS:

Answers will vary.

Compare and contrast the rhythmic style of polyphony from the Notre Dame school with that of motets
from the thirteenth century. How do you account for the similarities and differences?

ANS:

Answers will vary.

CHAPTER 17: Italy and Germany in the Late Seventeenth Century

MULTIPLE CHOICE
What was the leading vocal genre in Italy in the late seventeenth century?

a. oratorio d. mass

b. opera e. chorale

c. serenata

ANS: B DIF: Easy REF: 379 TOP: Italian opera

MSC: Factual

Librettists responded to the public’s desire for opera arias by

a. creating disjunct and choppy verses

b. choosing popular stories for the verses

c. structuring the libretto as mostly dialogue

d. writing verses in poetic meters and forms

e. devising forms without repeated lines of text

ANS: D DIF: Medium REF: 380 TOP: Italian opera

MSC: Applied
You discover a new cantata by Scarlatti. It probably incorporates which form?

a. da capod. strophic

b. binary e. sonata

c. rondo

ANS: A DIF: Medium REF: 381–382

TOP: Italian Vocal Chamber Music MSC: Applied

Why was Corelli called the first major composer whose reputation rested exclusively on instrumental
music?

a. he applied standard patterns to develop the ritornello form in instrumental music

b. he introduced the three-movement plan of the Italian opera overture to instrumental forms

c. he created the concerto, which helped to establish the orchestra as a leading ensemble

d. he established a string ensemble with four to six players per part, essentially the first orchestra

e. he developed sonata forms and the progression of functional harmony in instrumental music

ANS: E DIF: Hard REF: 388–389 TOP: Corelli Sonatas

MSC: Conceptual

What attracted an audience and thus largely determined the success of an opera production?

a. the composer d. the librettist

b. the drama e. the staging

c. the performers

ANS: C DIF: Medium REF: 380 TOP: Italian opera

MSC: Applied

The superior craftsmanship of Italian-made string instruments contributed to

a. the public demand for operas and oratorios

b. the development of the serenata genre

c. the rise of the sonata and the instrumental concerto

d. Scarlatti’s composing of over six hundred cantatas

e. the use of ornamentation found in all genres

ANS: C DIF: Medium REF: 384

TOP: Italian instrumental chamber music MSC: Conceptual

The three-part texture of a trio sonata typically called for how many instruments?

a. one d. four

b. two e. ten

c. three

ANS: D DIF: Medium REF: 386 TOP: Trio Sonatas

MSC: Applied

Who was not a leading vocal composer in Italy?

a. Giovanni Legrenzi d. Arcangelo Corelli

b. Alessandro Scarlatti e. Maurizio Cazzati

c. Barbara Strozzi

ANS: D DIF: Medium REF: 380 TOP: Italian vocal music

MSC: Factual

By the 1690s, cantatas were comprised of

a. one continuous aria with varying sections

b. contrasting recitatives and arias

c. mostly recitative and narration

d. similar recitatives and arias

e. many short and contrasting sections

ANS: B DIF: Medium REF: 381

TOP: Italian Vocal Chamber Music MSC: Factual

One purpose of the da capo aria was to

a. move the plot and narration along

b. express a sentiment or emotion

c. give singers a rigid structure

d. show how well singers followed the music

e. establish a simple form to follow

ANS: B DIF: Medium REF: 381–382

TOP: Italian Vocal Chamber Music MSC: Conceptual

You discover a piece by Buxtehude that alternates between free sections and contrapuntal ones based
on a variety of subjects. It is most likely what type of piece?

a. toccata d. canzona

b. prelude e. fugue

c. chorale

ANS: A DIF: Medium REF: 399

TOP: German Lutheran organ music MSC: Applied

What is one way Roman and Italian concerto practices differed?

a. in Roman practice the soloists were adjuncts to the orchestra, while in Italy the orchestra was an
expansion of the concertino

b. Roman concertos were reserved for public entertainment, while Italian concertos were reserved
for private entertainment

c. in Roman practice the orchestra was an expansion of the concertino, while in Italy the soloists
were adjuncts to the orchestra
d. Italian orchestras were typically divided between concertino and ripieno, while Roman
orchestras were not

e. Roman and Italian concerto practices did not differ

ANS: C DIF: Medium REF: 391 TOP: Italian concerto

MSC: Factual

German opera composers occasionally made use of

a. German airs and French dance rhythms

b. Italian dance rhythms and French recitative style

c. Italian recitative style and French dance rhythms

d. French airs and Italian dance rhythms

e. German dance rhythms and French recitative style

ANS: C DIF: Medium REF: 395 TOP: German opera

MSC: Applied
Which of the following does not contribute to the improvisatory feel of the free section of toccatas?

a. abrupt changes of harmonic direction

b. contrasting irregular rhythms and steady sixteenth notes

c. phrases with irregular or inconclusive endings

d. regular use of repeated figuration

e. changes in melodic direction and texture

ANS: D DIF: Medium REF: 399

TOP: German Lutheran organ music MSC: Conceptual

What was one cultural reason for the establishment of a collegium musicum?

a. educated music professors desired a chance to gather together

b. amateur music-making was a prominent part of social life

c. the public demanded professional performances for entertainment

d. university students needed organizations to help with their studies

e. the elite class wished to be separated musically from the lower classes

ANS: B DIF: Hard REF: 393

TOP: German court, city, and Church Musicians MSC: Conceptual

What international practice(s) influenced the building of seventeenth and eighteenth-century German
organs?

a. the Dutch practice of dividing the pipes into groups

b. the French practice of using stops to allow for solo and contrapuntal lines

c. the Italian practice of mounting pipes symmetrically

d. both A and B

e. both B and C

ANS: D DIF: Hard REF: 398

TOP: The Baroque organ (German) MSC: Conceptual

Which word describes the “Great organ” or “main group” of a Baroque organ that sits high above the
player?

a. Hauptwerk d. Oberwerk

b. Brustwerk e. pedal organ

c. Rückpositiv

ANS: A DIF: Medium REF: 398 TOP: Baroque organ (German)

MSC: Factual

How did the sacred concerto develop in Orthodox Lutheran centers?

a. it grew from simple German chorale settings over figured bass

b. composers such as Schein and Schütz wrote vocal ensembles based on secular texts

c. da capo arias in the Italian style were popular among the Lutherans

d. sinfonias based on motives from chorales sparked desire for expanded vocal works

e. the concerted vocal ensemble, the solo aria, and the chorale came together

ANS: E DIF: Hard REF: 397 TOP: Lutheran Vocal Music

MSC: Conceptual

You find a review in a north German newspaper from 1710 of a popular Italian opera. The composer of
this opera was probably

a. French d. German

b. Austrian e. Danish

c. Spanish
ANS: D DIF: Medium REF: 395 TOP: German opera

MSC: Applied

Stadtpfeifer encouraged entire families to make music their trade because

a. their music was performed at public ceremonies, parades, weddings, and other festivities

b. they required training and proficiency at numerous wind and string instruments

c. jobs were typically won through auditions or family connections

d. they held exclusive rights to provide music in the city

e. they oversaw and supervised the training of musical apprentices

ANS: C DIF: Medium REF: 393

TOP: German court and city musicians MSC: Conceptual

How were instrumental concertos and sonatas related?

a. the instrumentation was exactly the same for each

b. they served many of the same cultural and musical purposes

c. their musical organization was not based on tonality

d. they tended to consist of only one movement and mood

e. their melodies were disjunct over a faint bass line

ANS: B DIF: Medium REF: 390 TOP: The Concerto

MSC: Conceptual

At the end of the seventeenth century, composers of Italian music in all genres did not strive to make
their music

a. encourage audience participation d. emotionally expressive

b. pleasing to the ear e. show off the performers

c. gratifying to perform

ANS: A DIF: Easy REF: 391–392 TOP: The Italian Style

MSC: Factual

Vocal music’s influence on instrumental music can be traced through which organ compositions?

a. toccatas d. fugues

b. chorales e. postludes

c. preludes
ANS: B DIF: Medium REF: 401

TOP: German Lutheran organ music MSC: Conceptual

Longer forms in instrumental music became possible due to which musical advancement by Corelli in the
second half of the seventeenth century?

a. use of a single theme d. lyricism

b. fugal forms e. tonality

c. walking bass

ANS: E DIF: Medium REF: 405 TOP: Tonality

MSC: Conceptual

You discover a solo violin sonata from Salzburg that uses the technique of scordatura. Who likely
composed it?

a. Heinrich Biber d. Georg Muffat

b. Johann Jakob Walther e. Dieterich Buxtehude

c. Johann Kuhnau
ANS: A DIF: Medium REF: 403 TOP: Sonatas

MSC: Applied

TRUE/FALSE

The political splintering of northern Italy bred musical strength.

ANS: T DIF: Medium REF: 380

TOP: Italy in the seventeenth century MSC: Applied

Although vocal and instrumental music of the late seventeenth and early eighteenth centuries was
notated simply, a performer was expected to add ornaments.

ANS: T DIF: Medium REF: 382 | 388

TOP: Italian vocal chamber music and instrumental sonatas MSC: Applied

Church services often included instrumental ensemble music.

ANS: T DIF: Easy REF: 384

TOP: Italian instrumental Church Music MSC: Factual

Most church trio sonatas consist of three movements.

ANS: F DIF: Easy REF: 386 TOP: Corelli church sonatas

MSC: Factual

The musical language of Alessandro Scarlatti became the basis of Rameau’s rules of functional tonality.

ANS: F DIF: Medium REF: 388 TOP: Corelli Sonatas

MSC: Factual
The sonata helped to establish the orchestra as the leading instrumental ensemble.

ANS: F DIF: Easy REF: 390 TOP: Italian concerto

MSC: Factual

German music in the seventeenth century was uninfluenced by other countries.

ANS: F DIF: Easy REF: 393 TOP: Germany and Austria

MSC: Applied

Buxtehude’s toccatas are noted for displaying the organ’s idiomatic qualities.

ANS: T DIF: Easy REF: 399 TOP: Organ music

MSC: Factual
Fugues were written as both independent pieces and as sections within pieces.

ANS: T DIF: Easy REF: 401

TOP: German Lutheran organ music MSC: Factual

Froberger helped establish the allemande, courante, sarabande, and gigue as standard components of
dance suites.

ANS: T DIF: Easy REF: 403

TOP: Instrumental music| Harpsichord Suite MSC: Factual

SHORT ANSWER

Most cantatas were written for solo voice with __________________________ as accompaniment,
though some featured two or more voices.

ANS:

continuo
DIF: Hard REF: 381 TOP: Italian Vocal Chamber Music

MSC: Factual

The overarching form for a da capo aria is __________________________.

ANS:

ABA

DIF: Easy REF: 381 TOP: Italian Vocal Chamber Music

MSC: Factual

__________________________ served as a substitute for opera during Lent or at other seasons when
the theaters were closed.

ANS:
Oratorios

DIF: Easy REF: 384 TOP: Oratorios MSC: Applied

Define walking bass. In what type of seventeenth-century piece are we likely to hear this technique?

ANS:

steadily moving eighth notes; trio sonatas

DIF: Easy REF: 386 TOP: Arcangelo Corelli’s Sonatas

MSC: Factual

The trio and solo sonatas of __________________________ represent the crowning achievement in
Italian chamber music of the late seventeenth century.

ANS:
Arcangelo Corelli

DIF: Easy REF: 386 TOP: Corelli Sonatas

MSC: Factual

What are two kinds of concertos composers were writing by 1700?

ANS:

two of the following: orchestral concerto; concerto grosso; solo concerto or concerto for one or two
soloists

DIF: Medium REF: 390 TOP: The Concerto

MSC: Factual

Although opera continued to be the leading genre of music in the late 1600s, today the best known
Italian and German music from this time period is primarily __________________________, not vocal.
ANS:

instrumental or works for strings and organ

DIF: Easy REF: 380 | 395 TOP: German music

MSC: Conceptual

The phrases below describe three approaches to constructing a __________________________.

Each phrase of the melody serves in turn as the subject of a point of imitation.

Phrases appear in turn in long notes, usually in the top voice. The beginning of each phrase is preceded
by a brief imitative development of it in the other voices.

An ornamented version of the melody appears in the top voice. The accompanying voices are free and
exhibit variety.

ANS:

chorale prelude

DIF: Medium REF: 401–402 TOP: Lutheran Organ Music | Chorale Prelude
MSC: Factual

The keyboard sonatas of __________________________ helped establish the genre of sonata as more
than strictly ensemble music.

ANS:

Johann Kuhnau

DIF: Hard REF: 404 TOP: Instrumental Music| Sonatas

MSC: Conceptual

The position of __________________________, meaning “town pipers,” is evidence of cities and

churches supporting music.

ANS:

Stadtpfeifer
DIF: Easy REF: 393 TOP: German court, city, and Church Musicians

MSC: Conceptual

MATCHING

Match each person to his correct description below.

a. Tomaso Albinoni d. Antonio Stradivari

b. Dieterich Buxtehude e. Georg Muffat

c. Reinhard Keiser

prominent instrument-maker during the late 1600s

introduced the three-movement (fast-slow-fast) plan to the concerto

introduced Corelli’s and Lully’s styles to Germany

renowned German organist; composer of organ music and sacred vocal works

the foremost and most prolific composer of early Germany operas

ANS: D

ANS: A

ANS: E

ANS: B

ANS: C

Match each item to the correct description below.

a. orchestral concerto d. sonata da chiesa

b. orchestral suite e. trio sonata

c. sonata da camera
contains multiple movements, often including one or more using binary form; could be used during
worship services

a result of the German effort to introduce the high standards of performance as found in Lully’s French
musical style

a series of stylized dances, often beginning with a prelude, for entertainment

scored for two treble instruments with basso continuo

a work in several movements that emphasizes the first violin part and the bass; more homophonic than
contrapuntal

ANS: D

ANS: B

ANS: C

ANS: E
ANS: A

ESSAY

Explain the genre of the fugue as understood in the seventeenth century. How does it compare to other
types of pieces, such as the ricercare? Use the terms “exposition,” “answer,” and “episode” in your
explanation, thoroughly defining each.

ANS:

Answers will vary.

Describe the da capo aria. What does the term mean and how is its meaning reflected in the form? Give
characteristics of the sections of the form. What are some of the da capo aria’s musical and dramatic
purposes? Name at least one composer associated with the form.

ANS:

Answers will vary.